Even the application of graving
on metal in Etruria solely to the toilet mirror, and in Latium solely
to the toilet casket, indicates the diversity of the art-impulses that
affected the two lands. It does not appear, however, to have been
exactly at Rome that Latin art put forth its freshest vigour; the
Roman -asses- and Roman -denarii- are far surpassed in fineness and
taste of workmanship by the Latin copper, and the rare Latin silver,
coins, and the masterpieces of painting and design belong chiefly to
Praeneste, Lanuvium, and Ardea.

This accords completely with the
realistic and sober spirit of the Roman republic which we have already
described--a spirit which can hardly have asserted itself with equal
intensity in other parts of Latium. But in the course of the fifth
century, and especially in the second half of it, there was a mighty
activity in Roman art. This was the epoch, in which the construction
of the Roman arches and Roman roads began; in which works of art like
the she-wolf of the Capitol originated; and in which a distinguished
man of an old Roman patrician clan took up his pencil to embellish a
newly constructed temple and thence received the honorary surname of
the "Painter." This was not accident.

Every great age lays grasp on
all the powers of man; and, rigid as were Roman manners, strict as was
Roman police, the impulse received by the Roman burgesses as masters
of the peninsula or, to speak more correctly, by Italy united for the
first time as one state, became as evident in the stimulus given to
Latin and especially to Roman art, as the moral and political decay of
the Etruscan nation was evident in the decline of art in Etruria.
As the mighty national vigour of Latium subdued the weaker nations,
it impressed its imperishable stamp also on bronze and on marble.

End of Book II: From the Abolition of the Monarchy in Rome to the Union of Italy